Abstract

This essay reviews the controversy over the political interpretations of Calderón’s mythological play, El mayor encanto, amor. While a number of scholars perceive a critique of the Count-Duke of Olivares through the characterization of the witch Circe, others deny such an interpretation noting that it would infringe upon the decorum needed for palace performances. This essay then offers three levels of interpretation, noting that there could be at least three kinds of audiences watching the play. El mayor encanto, amor can be interpreted as a laudatory work since it includes the figure of Astraea. She is the goddess of justice, truth and chastity who signals the return of the mythical Golden Age during the times of Philip IV and his minister the Count-Duke of Olivares. However, a more critical yet prudent audience regards the play, although laudatory in nature, as presenting a useful piece of advice in a decorous manner: the king ought not to forget his governing duties while enjoying the pleasures of his new palace. Finally those that were discontented with the minister, such as the queen and her ladies, could perceive other designs in the work. Here, the minister would be metamorphosed into Circe who controlled the king/Ulysses through her power and magic.